More art and Monster musings!

Here you go folks - some new art by yours truly! This piece was inspired by the Falmouth-based surfboard manufacturers of the same name. 

Copyright Alex Smith 2013

The typography/logo had already been established. I manipulated it slightly in an effort to give the overall piece some perspective. When compared to the original logo, this one should look as if it's sitting on top of the water slightly, moving towards the wave.

Run by young entrepreneur and chief shaper Mark Roberts, Glass Tiger are a small but dedicated company from Cornwall, England. Designed with an eye for both form and functionality, Glass Tiger surfboards look magnificent - almost too nice to put in the ocean! Check out the site here: http://www.glass-tiger.com/index.php

In other news, Monster Fest is kicking into high gear now, after its opening on thursday. Running until the 1st December, Monster Fest will be screening everything and anything genre related. Andrew Trauckis new film, The Jungle premières tonight! I caught up with Andrew to discuss his new film and filmography thus far - check out what he had to say here: http://monsterpictures.com.au/features/monster-pictures-grylls-andrew-traucki/

Until next time!

Less of that and more of the other!

Apologies for the lack of posts my friends. Lots has happened since I waxed rhapsodic about Before Midnight back in July! Along with Life of Pi, it remains one of my favourite films of 2013. The only other film to bowl me over this year has been The Conjuring - James Wans superior, demonic-possession story. Be sure to check it out!

Speaking of horror, I'm now writing for the good people at Monster Pictures. Monster Pictures is the go-to site for any film fanatic or horror fan. As a chief distributor of horror movies, Monster Pictures offers some of the best contemporary tales currently available. The site has up-to-the-minute news and daily articles on every facet of the genre. My own weekly musings can be found here.

This blog will continue to play host to my illustration work. Again, lots has been happening - predominately comic-book related work. As 2013 comes to a close and the new year begins, more of these projects should be appearing, hot off the presses. Upon completion, I hope to post about each and every one.

Outside of comic-book work, I've been playing with design and colour. Below is one such example.

Copyright Alex Smith 2013

There be two designs here; the original black and white design and one with colour and (secondary) lettering. Originally I wanted the body parts to spell out the words, but the scratchy lettering was a commercial/necessary addition.
This design was inspired by the punk band of the same name. A terrific three-piece who play regularly around Melbourne, these raucous rockers are not to be missed! Check 'em out here!

Keep a look-out for more art-related posts soon. I'll be giving you my full round-up of the films which caught my attention this year also.

Cheers for now!

Before Midnight

Before Midnight is the third entry in a series of romantic tales, involving transatlantic couple, Jesse and Celine. Each movie in this trilogy has been made approximately nine years apart - and that real time has taken effect on-screen too. This new film and the first in the series took place over a full day and night, while the second was presented in real time - to emphasis the fleeting moments we all share, and the importance of grasping them.

For anyone who is not familiar with the Before series, Jesse and Celines' relationship has evolved thusly;

During a chance encounter on a train in Europe, the two meet. Jesse persuades Celine to leave the train to accompany the american on his last full day and night in Vienna. They fall in love and arrange to meet six months later.

Nine years later Jesse is touring his book, which recounts his and Celines' brief encounter. Celine meets him in Paris (her home town) during his tour - mush to Jesses' surprise! Jesse has two hours before he must depart Paris - giving the two a chance to catch up and reignite their romance. The second film ends on a cliffhanger of sorts, with the suggestion that Jesse is going to miss the departure of his plane by some margin!

Before Midnight sees the two in Greece, coming towards the end of a six-week vacation. They have twin girls and Jesse has a son (by his former wife). His son is returning home to America after enjoying the holidays with his dad and extended family. Jesse and Celine never married themselves, but are committed to one another and their children.

Before Midnight offers up a handful of secondary characters in the first half - a welcome addition to the formula. This could also be interpreted as growth - for both the couple and the series. As our own families grow and our relationships strengthen, shouldn't we be thinking outwardly and about others rather than ourselves?!

The first two films focused on the romanticism of the pair and their passion for one another, despite their brief encounter. This new entry discusses the maintenance of a love affair.

It's clear that Jesse made the move to Paris for Celine - at the expense of leaving his son behind. The movie begins with Celine considering a new job (in Paris still), while Jesse is emotionally unsettled at the prospect of saying goodbye to his son once again.

The pair have much to consider and their conversations are heated at times. No subject can jeopardize their relationship, but their inability to communicate could. Sexual politics is in the air, as the pair struggle to understand each others gender!

As anyone in a long-term relationship can attest, this is a frequent occurrence. This isn't to suggest that any such conversation needs to be malicious of course (they often are)!

Before Midnight is confronting as a result. Jesse and Celines' relationship has intentionally been presented as honest throughout this series - and this new entry is no exception.

Richard Linklater and his stars, Ethan Hawke and Julie Delpy have crafted one of the greatest trilogies of all time here. The Before series is an intimate and candid portrait of two people from different backgrounds meeting, falling in love and choosing to make a life together. We've seen a lot of Europe with this series also - an appropriate backdrop to a mixture of cultures and attitudes!

It's hard to imagine any independent film, romantic or otherwise, spawning two sequels. This series proves that character and script are king. Rather than anticipate another entry, it's been rewarding and somewhat comforting to catch up with these characters intermittently - just like any good friend!
It's been a joy to watch these three at work. To follow this couple over twenty-plus years and to be party to their thought-provoking conversations on love and life. I wonder what the next nine years will bring?!

5/5

Poster image courtesy: www.ropeofsilicon.com

Pacific Rim

Pacific Rim is one of three movies on my must-see list for 2013 - along with Elysium and Gravity. These three properties are all original tales within the sci-fi/ fantasy genre (being released against a host of adaptations and sequels). They also have the distinction of being made by some of the finest film-makers working today.

Pacific Rim is first out the gate and boasts a fine pedigree in Guillermo del Toro. A native of Mexico, del Toro has moved back and forth from directing independent spanish language features to studio-backed english speaking fare. His movies include; The Devils Backbone, Blade 2 (arguably the best in the series), Pans Labyrinth and the Hellboy movies. Having firmly established himself in Hollywood, del Toro continues to pursue a career in directing - while championing a host of up-and-coming film-makers, as a producer.

When a dimensional portal opens on the pacific ocean floor, giant monsters (Kaijus) enter our world. Laying waste to whatever crosses their path, the monsters are more than just a menace - potentially threatening our very existence.

The world is unable to offer a deterrent until a plan is formulated to create giant mechanical monsters of our own (Jaegers) to combat the threat.

Each continent has a Jaeger and collectively they prove effective at keeping these inter-dimensional behemoths at bay!

As each new interloper comes through the portal however, the stronger they appear to be. Our scientists predict their numbers will increase exponentially - with each Kaiju gaining in strength and ferocity.

The audience are thrust in to the action after this comprehensive back-story. Several Jaegers have been destroyed in battle and the powers that be are now funnelling money in to a giant wall, which is being erected around the pacific coast.

The threat proves to powerful of course. What's left of the Yeager force pool their efforts (despite being cut off financially) and decide to put an end to the Kaijus once and for all.

Despite the originality of this particular venture, those familiar with japanese anime and pop culture will no doubt be familiar with human-piloted mechanoids and giant reptilian monsters - be they ocean dwelling or otherwise!

Each Yeager is piloted by a team of two. Both pilots need to be of a compatible nature, as piloting a Yeager requires the two to meld minds ("drift").

This is where the human drama comes in to play. As testosterone bounces off the walls of the Shatterdome (Jaeger HQ), there is much camaraderie and competition to be mined. The dialogue and interplay between characters is somewhat uneven and cheesy however - a comparison to Top Gun would not be unjustified! As laughable as that film was, it also delivered thrills-a-plenty!
I'm happy to report Pacific Rim does just the same - and then some! It's certainly a film to be seen (and heard) at the cinema. Even some of the bigger LCD screens will struggle to do the film justice when it's released on DVD.

The action is plentiful and is absolutely stunning to look at! Not only has it been shot wonderfully, it's incredibly well lit (despite many a night-time scene). More importantly, one can see what's going on! The immense detail (throughout the film) is not lost through ADD editing or man-on-the-ground-cam! Long-time collaborator Guillermo Navarro is to be commended for his cinematography here - as is del Toro and his team of artisans!

Despite the slightly dubious human element, this movie really delivers - and comes highly recommended! In a funny kind of way it goes some way to emphasising what I already feared - giant robots will likely be better off without us!

4/5

Poster image courtesy: www.collider.com

Man of Steel

Super-spoilers!

Man of Steel is brought to us by director, Zack Snyder (300, Watchmen) and co-writer/producer, Christopher Nolan (The Dark Knight trilogy) - a formidable pairing if ever there was one. Joining these two is chief ideas-man (and writer of Man of Steel), David S. Goyer (Batman Begins). Collectively they have chosen to ground Superman in reality, just as they did with Batman - no easy task when you consider his alien origins and super powers. Despite the trappings of the character, each fantastic element has been reworked to fit the modern age and our ever fearful society. Inventive alternatives to the likes of the Fortress of Solitude, now form essential cogs in propelling the machinations of the character.

The film starts incredibly well! Beginning on a superbly conceived Krypton, we are firstly introduced to Jor-El (Russell Crowe, on great form). The planet is dying. Its resources have been depleted and the powers that be are ignorant to the fact that they've pillaged and poisoned their home. There are obvious comparisons to be made with our own planet here. It's a nice touch to comment on such a pertinent issue. Whether the comparisons have been made before or not is unclear - it certainly doesn't go unheard!
Just as he did with Master and Commander, Crowe exudes confidence in the role of Jor-El - an intelligent natural leader, making difficult decisions in the face of adversity. Jor-El's instincts tell him that the end is closer than the politicians and military (led by Michael Shannons Zod) would care to admit.
With time a factor, Jor-El readies his new-born - the only natural birth on Krypton, amongst the genetically engineered majority. Having convinced his wife that Kryptons time is at an end, they prepare a ship for their sons ongoing journey. Jor-El comes up against Zod of course - who plainly disagrees with his plans. Particularly as Jor-El has placed the Codex within his sons ship (an artefact which contains the Kryptonian genetic make-up).

The rest of the film takes place presently, with Clark/Kal-El (Henry Cavill) a grown man. His youth is told in flashback, as he considers the man he's become through the lessons he's learnt. Clark has yet to discover where he originally came from and is doing his very best to lead a good life - helping others whenever possible. Clarks adopted father, Jonathan (Kevin Costner - superb) was adamant that the world would fear and ostracise his son if they new of his powers. Like any sensible guardian, Jonathan has endeavoured to instil in his son a sense of responsibility - and it's clear that Clark has lived by his fathers caveat for some time. Exposing himself only when there's no alternative, Clarks super-human abilities have become folk lore to some - nothing more than an urban legend.
Of course where there's smoke, investigative reporter Lois Lane (Amy Adams - the best Lois yet) is never far away. The two meet through Clarks tales of heroism, as Lois follows his trail across America. They meet in the Antarctic, where both are investigating an anomaly reported to be buried in the ice (a Kryptonian scout-ship that arrived on Earth over 2000 years ago).
This is all great stuff - and what's more, it all makes sense. The cast are really terrific - Crowe and Costner the stand-outs.

Zod and his militant crew show up in the second half to claim back what's theirs - this includes Kal-El and the Codex. Clark is flying now - wearing the red and blue of his 2000 year old, pre-tailored suit! When Zod makes his demands, Clark must reveal himself to the world and the authorities - the American military, who are naturally running the show!
Shannon is suitably power-hungry as Zod - and makes for a terrific foil to Cavills, Kal-El. Everyone expects the two to face-off against one another - an opportunity for some truly super-powered action!
When the time comes however the fighting gets tired real soon. The special effects are good but the choreography is uninspired. In order to pin-point small figures within the action, the camera frequently zooms in. I don't know why this technique is employed, because the action is clear. All this effect does is cheapen the scope of the movie (reminding us all of Attack of the Clones once again)!

I have two distinctive problems with this movie which I believe could both have been solved by acknowledging the comics and Supermans hero mythos a little more.
Firstly is the destruction of Metropolis (at least a good portion of it). The ensuing carnage would've caused untold death and injury - something Superman is clearly against. Surely a fight in outer-space or a throw-down at the Grand Canyon would've been in keeping with Supermans moralistic codes.
Secondly is the death of Jonathan Kent. This is an intentional turning point in the movie, but completely unnecessary in my view. The Kents know their son is super and so does he. Why he didn't volunteer to save their dog from a tornadoes destructive path is beyond me. Instinctively, he would've just done it and to hell with the consequences. How was this any different to saving his friends on the bus or saving the men on the oil rig? Any onlooker would've been none the wiser - chalking the experience up to a miracle/act of god.
Just as Martin Sheen fully inhabited the role of uncle Ben in The Amazing Spider-man, Costner perfectly embodies the role of Jonathan Kent. I don't quite understand the notion of rebooting characters only to use them less efficiently than before - especially when you've got a top-class actor on board?
I have no doubt that a larger game is at play with this first entry. Perhaps we'll be rewarded for some of the lesser moments with fleshed-out explanations next time.

The first half of this movie really delivers - and is bookended by some nice moments and a great one-liner at the end! Superman is 75 years old this year. I'm all for giving a character a facelift now and again, but lets not forget what made this particular character the American icon he's become!

3/5

Poster image courtesy: http://www.mondoarchive.com/

Artwork by Martin Ansin who was also responsible for the Looper poster I chose. Check it out again here: http://alexsmith365.blogspot.com.au/2012/10/looper.html

World War Z

World War Z is based on the book of the same name, by Max Brooks. The book detailed the Zombie Apocalypse some ten years after its initial outbreak. In an unusual move, the reader learnt about the outbreak and the hard years that followed through a series of vignettes. A UN agent assigned to the Postwar Commission interviews a vast majority of different survivors from around the world, in an effort to better understand what caused the outbreak - and the effect to which it's had on the global community.

When news of the movies production hit, fans undoubtedly imagined a documentary-like pastiche of jaw-dropping set-pieces - brought together by a journalists quest for truth.
The production of World War Z has been long and "troubled". Four very talented writers (J. Michael Straczynski, Matthew Michael Carnahan, Damon Lindelof and Drew Goddard) were assigned at different stages of production to distil this opus. A good portion of the film was re-shot as a consequence - with test screenings and the like pushing the film in a more action-orientated direction.

It continues to surprise me when movies share little to no content with the property from which they're adapted. From a business perspective it makes sense to build upon a salivating and still-hungry audience. But surely if you change something to the point where it's no longer recognisable, your sizeable built-in audience will turn their backs on you?
What's most unfathomable is to learn that this one-note apocalyptic tale has done well enough in box office receipts to warrant a sequel? It would appear all people really want is more and more bang for their buck!

As you might imagine I went in to World War Z with pretty low expectations. Rather than it being ten years later, the audience is propelled in to the Zombie outbreak as it happens - through the eyes of our protagonist/journalist, Gerry Lane (Brad Pitt).
The Zombies in World War Z run rather than shuffle - echoing the "infected" of 28 Days Later rather than the traditional "undead". As a result the movies pace is tremendous. The action doesn't let up and the movie flies by at an alarming rate.

With his family in tow, Gerry witnesses first hand his home town fall to infection. A respite from the action sees Gerry and his family given sanctuary by a former colleague. As guests aboard the American Naval Fleet, Gerry and his family are safe. As a condition however, Gerry must enlist in the effort to save mankind. This requires him to travel the globe (accompanied by military personal) to find a solution to the life-threatening outbreak.
A couple of nice moments had me invested beyond mere atrophy, but come the half-way point there were few surprises. Having to suspend my already waning disbelief towards the end of the picture, not even the gratuitous Pepsi tie-in drew a smile!

Despite my grievances, World War Z offers up some striking visuals - and the shear pace of the movie is sure to appeal to the attention-deficit generation! It's difficult to know whether you've been entertained or not when the film-makers give little to no time for you to think (perhaps that's their trick)?
I was certain we were getting away from movies that lived or died on spectacle alone. The success of this movie has left me to believe otherwise.

2/5

Poster image courtesy: www.badassdigest.com

Fast and Furious 6

I was super-psyched to see Fast and Furious 6 after seeing it's predecessor on DVD. The clip which encouraged me to see Fast 5 in the first place was that of Paul Walker and Vin Diesel surfing a car off a ravine - WOW!

The original Fast and the Furious had ripped off a favourite of mine. Replacing extreme sports with fast cars, the film was almost a scene for scene remake of Point Break. After passing on three of it's sequels, Fast 5 pulled me back in. Director Justin Lin (who has been with the series since Tokyo Drift) pulled out all the stops with this entry - improving upon what had come before, while successfully hitting upon a formula for the series which worked beyond mere plagiarism.

The car-surfing sequence stood out because it looked like the actors were doing the stunt themselves. Many believe anything can be accomplished in this age of digital effects, but this learned eye can still tell. If I have to ask myself, "how did they do that?" (as I did in Fast 5), then the film-makers have successfully done their job!

Fast 5 also utilised the full series cast - bringing in players form the original and each subsequent sequel. Added to the mix for the fifth entry was Dwayne "The Rock" Johnson, as the FBI agent assigned to hunt down Toretto and his gang.

The intention with most sequels is to go bigger and better. Lin and his crew lean towards this but wisely stick to the formula created with their fifth entry. Fast 6 comes very close to it's predecessor (in terms of greatness), but requires it's audience to suspend their disbelief that little bit further.

Fast and Furious 6 is hugely entertaining! In fact seeing this feature at the cinema made it even more enjoyable. This series plays like the adolescent nephew to "Bond". A crowd-pleaser that ticks all the right boxes - and fully engages it's audience just short of rapturous applause!

The influx of characters has certainly helped this series, however there's no one who really pops in Fast 6. Vin Diesel and Dwayne Johnson have charisma to spare, but rarely do they punch above their stoic shells. Tyrese Gibson and Chris "Ludicris" Bridges provide the laughs and show some growth as a humorous double-act.

Fast 6 places Johnsons FBI team and Torettos gang in bed together, rather than at logger-heads. It's a fun conceit which we all saw coming - but it works!

Both teams face military-trained Shaw (Luke Evans) and his gang. A comedic highlight sees Gibsons, Roman compare the heros to the villains. The two teams show an uncanny resemblance to one another!

The action takes place in London this time (save for a brief return trip to LA for Paul Walkers, Brian). Just as it works for the Bond series, the changing locals keep things fresh and visually exciting. They make a concerted effort here to utilise the more popular land marks - it's not everyday you see a couple of souped-up cars race through Piccadilly Circus!

With it's chief ensemble in place, this series can run and run. Players can come and go, as new heros and villains are inducted. The Fast and Furious audience will eat it up, so long as there's a considerable amount of spectacle on display! No doubt they'll continue to tick those boxes - here's hoping they keep the ridiculousness of the series on the right side of WOW!

3/5

Poster image courtesy: www.empireonline.com

Star Trek: Into Darkness

Well we knew this was going to be good didn't we!

Despite the televised saturation of trailers and clips (months in advance, I might add). Star Trek: Into Darkness managed to maintain a level of secrecy unlike most other marquee releases (Iron Man 3 did a pretty good job incidentally).

With four features to his name, J.J. Abrams has risen to the lofty echelons of top-tier directors. Hence forth he will no longer need an established franchise to pull in an audience. Comparisons to Spielberg are not unjustified (see Super 8 for an obvious homage to the man). There I was thinking M. Night Shyamalan had inherited the throne - but then The Happening, happened (finish your Unbreakable trilogy already)! With Abrams being offered episode VII of the new Star Wars trilogy (a no-brainer), it would appear he's followed the likes of Spielberg and co in to both critical and commercial success - the Hollywood holy grail!

With the first Star Trek, Abrams achieved the neat trick of starting over without truly doing so. Using time travel devices, he set the crew of the Enterprise on a different path - by way of the villainous Romulans.

His young cast pulled off the unthinkable (how do you recast Kirk and Spock?) - and the success of the film meant that fans old and new had embraced Abrams exciting new take on the franchise.

This new entry begins half way through a new adventure, as Kirk and co intervene in the life-cycle of a primitive alien species. Doing their up-most to remain unseen, the crew of the Enterprise eventually have to expose themselves in order to rescue one of their own. By potentially altering yet another timeline, Kirk has favoured the good of the few over the good of the many - or more appropriately, the good of the mission.

This conundrum is something Kirk faces time and again throughout Into Darkness. As a result of his unwillingness to subscribe to Starfleet values, Kirk is severely reprimanded. That is until all hell breaks loose!

Back on Earth (a fabulously conceived London of the future) the archival centre for Starfleet is bombed, in an apparent terrorist attack. The perpetrator is caught on camera (Benedict Cumberbatch) and an effort is made by the superiors of Starfleet to bring the man to justice. This plan is somewhat scuppered by the villains intimate knowledge of Starfleet. More attacks occur, leaving many dead. Kirk is personally affected and volunteers to capture the man responsible.

Cumberbatch plays a terrific foe. All steely eyed and clinical - in both physicality and intellect. Like any fanatic, he has his reasons. His only concerns are that of himself and his people - much like Kirk (the good of the few once again coming in to play)!

Kirk and his crew come to learn more about Cumberbatchs' vindictive villain, and consequently his motivations. Cumberbatch sees Starfleet as a threat to his and his own - and plays on Kirks anti-establishment stance.

Throughout Into Darkness J.J. and his crew offer up some compelling motivations and moralistic conundrums for Kirk and company. As with every Abrams feature thus far, there is more for the audience to chew over than mere visuals, stunning as they are!

Into Darkness is a fantastic follow-up to Abrams first Trek feature. There is a thrilling sense of nostalgia to Into Darkness - more so that the first. As the Enterprise continues on it's new trajectory, there's not just new adventures to engage in, but strangely familiar ones too!

Hats off to J.J. and his crew for once again displaying deep affection for what's come before, without boring audiences with a sense of deja vu!

4/5

Poster image courtesy: http://paulshipperstudio.com/
Many of you will know the works of Drew Struzan - the incredibly popular poster artist, who's since retired. Paul shipper and Mike Butkus share a similar talent and approach their works in much the same way. It may be an old-school approach to (film) poster design but damn, if it doesn't draw you in!!
See also: review of Django Unchained (poster by Mike Butkus) http://alexsmith365.blogspot.com.au/2013/04/django-unchained.html

Iron Man 3

With the success of The Avengers, it would appear the Marvel machine is now unstoppable. For all those in the know, Iron Man 3 represents a mere fraction of what's in store from this studio. So as exciting as it is to see Tony Stark in action again, it does feel like less of an event than some of the stand-alone movies coming our way this year (Man of Steel for one). This being said, Iron Man 3 is no less entertaining as it's predecessors - and does the job of furthering it's hero's journey with aplomb.

Shane Black takes over directing duties from Jon Favreau this time. Black takes a co-writing credit also, which is no surprise when you consider his past. Black was the go-to guy for testosterone-fuelled action scripts, overflowing with inventive and witty humour. His credits include; Lethal Weapon, The Last Boy Scout and The Long Kiss Goodnight. In 2005 Black made his directing debut with the fantastic, Kiss Kiss Bang Bang (starring Iron Man himself, Robert Downey Jr).

Blacks presence is evident upon watching Iron Man 3 - particularly in the script. The Iron Man films have all had humour. This time however we get some of the best gags from the least likely of sources; work for hire henchmen, an only child with Stark-like aspirations - and a particularly funny turn by one of the movies main stars!

Iron Man 3 kicks off after the events of The Avengers. In an interesting move (all be it obvious, from a serialisation point of view) the film deals with the repercussions of the extraterrestrial threat which the Avengers faced. Stark himself is deeply affected - and Black and his team present the human populous as forever changed and curious about their new guardians.
In an effort to get through his other-worldly experience, Stark does what he knows best - he tinkers! Pepper Potts (Gwyneth Paltrow) and Stark are still very much in love and Tony still has a handful of (lesser-powered) friends to his name, including James Rhodes (Don Cheadle). Despite the support in place, Stark is suffering greatly with anxiety. To add insult to injury, there's a new villain in town - in the form of the Mandarin (a terrific Ben Kingsley). The Mandarin is a pastiche of middle-eastern fanaticism, intent on disabling western ideals.

After a spectacular attack on his home, not to mention the injury of one of his closest friends (security guard Happy, played by Jon Favreau), Stark finds himself far from home. His suit (by way of super computer, Jarvis) sends him to colder climes in an effort to solve one of many suspicious deaths. It would seem a handful of people have been spontaneously combusting - the cause emanating from a foreign substance in the body.
It's at this point one of the more popular Iron Man tales gets it's movie make-over. Extremis acts like a super drug, bonding with it's host in an effort to make them superior in every way. Like any other drug, if the hosts tissue/DNA rejects the substance, an overdose is inevitable. In this instance they tend to heat up!
With a madman such as the Mandarin controlling such a substance, Iron Man 3 offers up a different kind of villain. It's a refreshing change from another iron suit - although there's still plenty on the side of the hero this time (for all you metal-heads out there)!

Unfortunately (and this is my only real reservation) the last act offers up yet another shipping yard/dock-set action spectacle (which is anything but). After The A-team, The Losers, Red and countless others, surely the shipping yard finale/action scene has been done already. No doubt it's a cheap and effective way of staging an action scene, but it lacks smarts and inventiveness (see the Air Force One rescue earlier in Iron Man 3, for a truly memorable sequence). With the dock scene so close to the end, it regrettably leaves the viewer a tad underwhelmed.
Iron Man 3 has many attributes however - and can certainly stand along side it's predecessors with it's head held high!

No one has yet dropped the ball within this Marvel/Avengers movie-verse (we don't count The Incredible Hulk, do we?) and it pleases me to report that Iron Man 3 maintains the standard to which each adventure has aspired.
Thor: The Dark World is mere months away - and a week rarely goes by without a still or trailer for forth-coming adventures from the Marvel stable.
These characters and their ever expanding universe are here to stay - and I for one look forward to each and every adventure. Lets hope the ball stays in the air a while longer!

4/5

Poster image courtesy: http://www.4twenty.co.uk/
Iron Man 3 poster illustrated by Jock - a comic-book and conceptual artist. Check out more of his amazing work at the above address!
See also: review of Dredd (poster by Jock) http://alexsmith365.blogspot.com.au/2012/11/dredd.html

Warm Bodies

Warm Bodies is the next in what can only be described as the strangest sub-genre to emerge in recent years - the zom-rom-com! Warm Bodies presents us with another apocalyptic landscape, with Earth overrun with zombie hordes. Only a small number of humans remain, eking out a meagre existence in an effort to survive.

One such group of survivors is led by Grigio (John Malkovich). With his daughter Julie (Teresa Palmer) in toe, their group have the distinction of having military support - Grigio being a colonel of old.

The humans are of little interest in this movie however, as the majority of the running time is taken from the perspective of R (Nicolas Hoult), one of the living dead. R moans and groans like any other zombie, but his interior monologue is perfectly audible, as he goes about informing the audience of the state of the nation - and more importantly the details of his daily routine.

It's not long before the inevitable face-off of course. During a routine supply run, Julie and her team are besieged by an undead horde. Most of Julie's team are killed, yet Julie is spared by the love-struck R.
It would appear R is different to the rest of the undead. Upon saving Julie, he takes her to his den - a grounded passenger plane, decked out with trinkets of a once animated Earth. Despite R's undead status, it would appear he's not yet given up on the notion of living. His meeting Julie magnifies this, to the point where the spark of new life is present in his body.

Warm Bodies is wonderfully playful. Nicolas Hoult must be applauded for R's contradictory nature - his upbeat narration at odds with his near-wooden, physical self.
Teresa Palmer is beautiful and together, Julie and R make for an endearing couple.
The two young stars are ably supported by their friends (alive and undead). Rob Corrdry and Analeigh Tipton generate a lot of laughs, as R's Zestie and Julie's bestie, respectively!
The aforementioned Malkovich adds gravitas to proceedings, but beyond his parental concern, there is little for Malkovich to do (see Red and it's forthcoming sequel for a more entertaining performance).

With Romance at it's core, Warm Bodies offers a cure to the zombie plague. In a very sweet move the movie suggests love is the answer - the only thing to swell the heart and potentially get it pumping again! Warm Bodies goes further suggesting we love and respect our neighbour, regardless of viral out-break!

Warm Bodies is a fun addition to this new genre. Not as laugh-out-loud or as original as some, but it certainly wears it's heart on it's sleeve - giving romantic hope to the most miserable and down-trodden zombies among us!

3/5

Poster image courtesy: www.sftv.com.au

The Company You Keep

The Company You Keep is the new film by Robert Redford, director of A River Runs Through It, Quiz Show and the recent, Conspirator. This new film is a good fit for Redford (who also stars), having made his name with other politically-conscious movies (All the Presidents Men and Three Days of the Condor).

Redford would be no stranger to the plight of the Weathermen - a group of young activists intent on bringing the government to it's knees over their involvement in the Vietnam war.
Violent in their actions, the Weathermen were successful in their campaign until the robbery of a Michigan bank in 1980 (the actual robbery was that of an armed car in New York, the following year), which turned sour. A guard was shot dead by one of the group, ending their reign of terror and leaving each member a fugitive of the state.

These facts are presented to us in a pre-credit sequence, allowing the rest of the film to take place in the present day.
With a lifetime to dwell on their actions, many of the former activists went underground, forging new identities and finding the means to pass on their beliefs and ideals through more passive acts, such as education and law.
After 33 years, one of the group (Susan Sarandon) feels it's time to atone for her sins and offers herself up to the F.B.I. So begins a house of cards, as connections are made to each of the former Weathermen - principally by a hot-headed young reporter (Shia LaBeouf).

Robert Redford plays Jim Grant, one such former activist. A widowed father, Grant has a young daughter to his name (many former Weathermen have families and deeply rooted attachments now). Grant decides to track down his former comrades in the hope of finding the still elusive (and somewhat active) Mimi Lurie (Julie Christie), in the hope of clearing his name and returning to his daughter.

Redford has assembled a great cast for this film - particularly in the long since retired Weathermen. Many are contemporaries of Redford, who set alight the cinema of the 70's and 80's. From Nick Nolte to Susan Sarandon, these actors continue to bring class and gravitas to the cinema today - and this film continues to highlight their individual expertise.
The only character I didn't quite buy was Julie Christie's, Mimi. As a seventy-something freedom fighter, Christie has the toughest role. Despite her efforts, it's hard to get past the glamorous, movie-star exterior.

The first half of this film is excellent! Through Grant and his former comrades, we learn how ultraism inevitably leads to casualty, how much can be achieved through knowledge and communication alone and how, as we inevitably age and bring children in to the world, we reassign importance . These grandiose themes are replaced with a more personal story towards the end of the movie.
Regardless, The Company You Keep is never less than captivating and thought provoking.

4/5


Poster image courtesy: ca.eonefilms.com

Oblivion

Oblivion is the second feature from director, Joseph Kosinski, after Tron: Legacy. With Tron, Kosinski gave an 80's favourite an update which celebrated the world of gaming, particularly in the advances it had made - what was once Atari 2600 was now Playstation 3!
Tron: Legacy was a tremendous achievement in design. One can only hope what was lacking in story will be beefed up for the next instalment (lets have a truly remarkable light-cycle race next time)!

With Oblivion, Kosinski has once again played to his strengths. The sound and score is befitting that of an epic sci-fi tale, with M83 replacing Daft Punk this time (both of whom collaborated with composer, Joseph Trapanese).
The design of everything is second to none, particularly the hero's ship and the onboard toys at his disposal. What's particularly imaginative is the functionality of everything. Despite the futuristic setting, it all feels plausible.

Oblivion was set up at Radical Studios, a multimedia company based in California. Radical are a publisher of comic-books and Oblivion was originally set to be a short comic-book series (and/or graphic novel). The series was written by Kosinski as a means to garner interest in his project to further develop as a film. There is still no sign of the once mooted comic-book series/graphic novel, making Oblivion no more a comic-book adaptation than any other story-boarded pitch. Oblivion marks Radical Studios first foray in to the movie industry, with other projects imminent (next up Hercules, starring The Rock).

The aforementioned hero of Oblivion is Jack (Tom Cruise). Jack lives with his partner, Victoria (Andrea Riseborough) in a very slick apartment - upon a scaffolding, high above Earth's crust. We learn (by way of Jacks narration) that an alien race (known only as Skavs) obliterated our moon, causing all manner of catastrophe to occur on Earth. After nuclear war with the alien invaders, the remaining human population fled to the only other habitable rock, Titan - one of Saturn's many moons.

Along with their mother-ship (in Earth's orbit), Jack and Victoria monitor the mountainous machines put in place to source and store what little resources Earth still has to offer.
Jack's particular job is to monitor and repair the drones put in place to protect the vacuum-like machines from attack. With Skavs inhabiting the apocalyptic terrain, the drones are equipped with firepower to defend themselves - as is our hero.
All is well, save for Jack's reoccurring dreams and the unwavering notion that Earth is not lost. Jack's dreams feature himself and a woman (someone other than his partner, Victoria). Together they visit the Empire State building of a populated New York - long before the decimation of Earth.
During his daily routine, Jack witnesses a ship of some sort crash-land. To his utter surprise the woman from his dreams is aboard - alive and safe in hypersleep.
The film continues in this mysterious vein, as Jack slowly pieces together a truth to which he was previously oblivious to.

Oblivion is the culmination of an imaginative and design-conscious team. It didn't occur to me at first, but it does borrow from other sci-fi tales. Despite treading closely to other similarly themed features, Oblivion succeeds in it's execution. It's an exciting adventure that captivates from beginning to end.

3/5


Poster image courtesy: www.empireonline.com

Mama

As the economy comes crashing down in North America, Jeffrey (a casualty of the market) loses his mind and sets about destroying his private life. Having thrown his two daughters in the car, Jeffrey is on the road to nowhere. With his daughters terrified and he himself lost (in more ways than one), it's not long before an accident occurs.

Bruised and battered, the broken family stumble from their car and begin walking aimlessly through the forest to which they've found themselves. Finding an abandoned log cabin, Jeffrey ushers in his young daughters with malicious intent.

This pre-credit sequence is almost a film within itself and goes about laying the foundations for Mama -  the debut feature from Andres Muschietti, produced by Guillermo del Toro (of Hellboy and Pans Labyrinth fame).

By championing new directors, del Toro is able to tell more stories than he would otherwise be able. Certain themes have emerged from the films del Toro has put his name to - with children being the principle victims of a twisted fairytale aesthetic. Due to the expertise behind each film however, they do all differ - as basements differ from attics (in the same nightmarish house)!

Mama continues some five years later with Jeffrey's brother, Lucas (Nikolaj Coster-Waldau) spending every waking hour (and every penny earned) searching for his nieces. They are finally found in the very cabin where we left them. They are bought back to civilisation, via the hospital and re-cooperation centre of Dr Dreyfuss. It would appear the girls had only themselves for company, while surviving on a diet of cherries alone. Animal-like in instinct and behaviour, it takes a good while for the girls to return to normality.

Lucas and his girlfriend Annabel (Jessica Chastain) take in the girls eventually, meaning big change for all involved - particularly Annabel, who's rock-star lifestyle is suddenly compromised.

Despite the challenges of rehabilitating two girls (with the youngest showing little sign of returning to the world), the new family soon discover a third-party resident in their home. An entity that seemingly looked over the two girls during their time in the cabin - the ubiquitous Mama!

Like many of del Toro's productions, the film follows the plight of the young cast, with adults falling foul from sticking their noses where they don't belong.
The two young actresses (Megan Charpenteir and Isabelle Nelisse) show great restraint. They are particularly good in the effects-driven scenes - displaying more imagination than most adults saddled with the task of interacting with a tennis ball or some such prop.

As an alternative human mother Annabel presents the most interesting character arc. Content with being Lucas' girlfriend while pursuing a career in music, she is suddenly burdened with children to look after. With little compassion to offer Annabel struggles at first, but soon finds her feet as paternal instincts kick in. Annabel is another change for Chastain who's carving out a career as a character actor, rather than a movie star.

Beyond the family dynamic, there's a couple of side-stories concerning Dr Dreyfuss' restless fascination with the case - and the relentless jealousy of Lucas' sister-in law Jean, who originally fought for custody of the girls.

Mama is full of great moments, boasting plenty of scares. Mama herself is an effective ghoul - with the suggestion of her presence proving more sinister than when she's revealed fully.

Like Don't be Afraid of the Dark and The Devil's Backbone before it, there's a tenderness to Mama which shows it's hand after the majority of the scares. Another main staple of del Toro's productions, this sets his films apart from the likes of more chilling and adult fair.

Mama is a great addition to the genre - a twisted fairytale in the Brothers Grimm (del Toro) tradition!

3/5

Poster image courtesy: www.impawards.com

Oz the Great and Powerful

One could be forgiven for thinking Oz the Great and Powerful was yet another contemporary fairytale adaptation. Sandwiched between Hansel and Gretel and Jack the Giant Slayer, Oz is instead a prequel to the original classic, The Wizard of Oz - arguably one of the greatest fairy-tales of all time.
Oz also represents a return to the cinema for Sam Raimi. Despite a few false starts ( Spider-man 4/ World of Warcraft) Raimi's attachment to the film is what sparked this particular reviewers interest!

Oz the Great and Powerful recounts the early days of the self-proclaimed magician as he struggles to make ends meat as a member of the Baum Bros circus. Oz is well versed in showmanship and trickery and when he's not wowing crowds, he's seducing any attractive young woman who happens to cross his path. When a colleague discovers his own wife has fallen for Oz's charms, Oz has no alternative but to flee in his hot-air balloon - and it's off to the land of Oz we go!
Paying homage to the original, the film begins in black and white, then by way of destructive tornado, we are whisked away to the land of Oz - where the technicolor vistas come thick and fast!

As with the original Wizard of Oz, our hero meets some truly remarkable characters along his way. A porcelain girl and a flying monkey accompany Oz on his journey, while three witches help and hinder our hero in equal measure.
Despite his charms, Oz is far from perfect. The consequences of his actions back home are quickly dwarfed by the challenges he faces in the land of his namesake.

Played very nicely by James franco, Oz discovers he has been heralded as the returning great Wizard - summoned by the people of Oz to protect them from the tyranny of the wicked witch of the west.
Franco is ably supported by Joey King and Zach Braff as the china girl and bellhop monkey, respectively. The three witches are played with great versatility by three stunning actresses of contemporary cinema; Rachel Weisz (Evanora), Michelle Williams (Glinda) and Mila Kunis (Theodora).

Known to most as the director of the original Spider-man and Evil Dead trilogies, Sam Raimi reigns in his penchant for the absurd and delivers his most commercial and family friendly film to date.
There are still flourishes of inventiveness abound - often delivered with bombast by the ever effective Raimi-cam!

Over-all the film is an unexpected delight. Like the original Wizard of Oz, the Great and Powerful is a deeply moralistic tale, with many a lesson to be learnt.
The film is steeped in nostalgia, with love and respect for it's predecessor.

3/5


Poster image courtesy: www.empireonline.com

Lincoln

I'm afraid this review won't be as comprehensive as some due to Lincoln's political content - much of which went over this particular reviewers head!
Despite my interest in politically driven features, the historical element of Lincoln highlighted my ignorance of the time in which it's set.

The plot is reasonably easy to follow and one imagines Lincoln will reward with multiple viewings.
As the American Civil War rages on, the film follows Lincoln's attempts to bring about the 13th Amendment - effectively banning slavery. Set during his second term as President, the film follows Lincoln's hurried efforts to get the bill passed by the House of Representatives.

Lincoln plays Daniel Day-Lewis in a role that earned him the best actor Oscar this year - and deservedly so! Day-Lewis inhabits the role chameleon-like - just as he's done many times before. There wouldn't be a film without him - the man's a genius!

Spielberg does an amicable job of directing, but for a visual story-teller who's set-ups and compositions are so masterful, this dialogue-heavy project seems an odd fit for the man.
There are moments which are undeniably his of course; the ongoing issue with Lincoln's gloves - and the wheel-barrow scene (as Lincoln's son stumbles upon the truth of war).

The supporting cast are good also. Sally Field and Tommy Lee Jones are both strong. While James Spader, John Hawkes and Tim Blake Nelson (as Lincoln's street smart/politically savvy operatives) bring a lightness of touch to proceedings, distracting us from the furrowed brows of Office.

The film is rich with detail and the historical accuracy is evident. The film does feel small and somewhat restrained however. Perhaps the claustrophobic environs of Office are meant to communicate Lincoln's own feelings of isolation and frustration? With the 13th Amendment being of National concern, the obvious choice would've been to show the scale to which this new legislation would've affected the country.

Interestingly and somewhat poignantly I found myself watching Lincoln while current President, Barack Obama was looking to make revisions concerning gun control in the U.S. Fundamentally Lincoln recognised the Constitution of old needed amending today - a commendable action from an inspiring man.
Close to 150 years have passed since this film is set. One would hope we've evolved to a clearer and more united vision of our future?!

3/5


Poster image courtesy: www.empireonline.com

Flight

Flight is the new film from Robert Zemeckis - a director who's been absent from live action for over a decade. As well as his pioneering work with motion capture (The Polar Express, Beowulf, A Christmas Carol), Zemeckis has given us some of the most beloved films of all time; Back to the Future, Who Framed Roger Rabbit and Forest Gump, to name a few. He has also proven his worth outside the action/adventure genre with films as diverse as Cast Away and What Lies Beneath.

Flight showcases the many talents of this acclaimed director beginning with a heart-stopping plane incident.
Denzel Washington plays Whip Whitaker - the hero pilot who saves many with a stunningly inventive display of piloting. Despite his hero status, Whip has blood on his hands and alcohol on his breath - and the families of the slain want justice. The film follows the plight of the aircrafts captain after an accusation of manslaughter by intoxication.

What begins as a finger-gnawing disaster piece, continues as a drama about addiction.
While recovering in hospital, Whip meets fellow addict Nicole (Kelly Reilly). A kinship is born between the two and it's not long before they're living together.
But as Nicole embraces her new beginning, Whip grows more depressed and disillusioned by the accusations that have been flung at him.
Washington does a very fine job with good support from Reilly and Don Cheadle (as Whitaker's industry appointed lawyer).

Despite the spectacular opening and the superb performances by the principle cast, Flight does take a dive in to melodrama occasionally - with a cliched soundtrack to match.
One scene towards the end is particularly jarring. A misguided scene featuring John Goodman as Whips drug dealer, Harling. The scene is inappropriately funny and consequently, best forgotten.

After a turbulent middle, the final act has you sitting to attention once more. All eyes are on Whitaker as he faces up to a few home truths.

When it's good, Flight is very good. For a director who's embraced so many new methods of film-making however, it seems odd that he would fall on so many tried and tested ones.

3/5


Poster image courtesy: http://www.empireonline.com

Zero Dark Thirty

Zero Dark Thirty marks the second collaboration between director Kathryn Bigelow and screenwriter/journalist Mark Boal, after 2008's multi-award winning The Hurt Locker.
This time Bigelow and Boal go broader with the hunt for Osama bin Laden.

The film recounts the decade-long search through the eyes of Central Intelligence analyst, Maya.
The film begins after the events of 9/11, with Maya (played with real verve by Jessica Chastain) assigned to the U.S. embassy in Pakistan.

Despite obvious discomfort at what she first encounters, Maya takes everything at face value.
For the american employees and recruits stationed in this part of the world, there is seemingly no life beyond their work. Anyone trying to integrate in to their new found surroundings usually falls foul.
Just as Maya approaches her work, so too do the film-makers - presenting everything at face value and without biased (more importantly, nothing overtly American or political)
Instead the film is loaded with detail, from the rich characters to their surroundings and beyond. Consequently the time and effort that went in to this lengthy man-hunt is palpable.

The flow of time is something the film-makers pull off magnificently. Orders from on high reassign key players, others grow weary and move on voluntarily - while the main character of Maya falls deeper and deeper in to her obsessive role.

Zero Dark Thirty is Bigelows most cerebral and adult film to date. Were it not for the last act, one could be forgiven for thinking they were watching another director at work.
Plans were originally in place to end the film differently. As it transpired, the search for bin Laden came to a close in 2011 - thus presenting Bigelow and co with a thrilling final act.
The Bigelow of old is at work here, ratcheting up the tension and putting the viewer in the thick of the action.
The fact that it all happened for real adds much to proceedings - this is where the Bigelow of new shows subtle restraint and sensitivity.

With Near Dark, Point Break and Strange Days on her resume, Zero Dark Thirty shows the growth of an exquisite action director, becoming globally aware.
Having focussed on a world at war with both this and The Hurt Locker, Bigelow is looking to answer the question that's stumped many - to what end?

4/5

Poster image courtesy: http://www.empireonline.com

Django Unchained

When Django Unchained was released back in January, awards season was upon us and with that came a host of quality productions - stories we could finally get our teeth in to!

By his own admission, Quentin Tarantino has sought to produce pictures that stand the test of time. His films will certainly be remembered, of that much I'm sure! Some question his excess, however Tarantino is a director of considerable talent and integrity (despite his fudging of historical fact)! Tarantino is a cinephile of the highest order and makes movies for those who live and breath the cinema.

Django Unchained tells the story of Django (Jamie Foxx), a man freed from slavery by Dr King Schultz (Christoph Waltz). Schultz is a bounty hunter who needs Django to identify the Brittle brothers - Schultz's next target. Django and his wife were attacked, kidnapped and sold by these fiends - not people Django will forget in a hurry!
In exchange for his help, Schultz offers his assistance in locating Django's wife.

The two set out on their righteous quest, bonding over a somewhat preordained connection to Schultz's fatherland. It would seem Django's wife, Broomhilda is of German heritage, with her name holding particular relevance to our hero's journey.
With Django showing great promise as a gun-slinger, it's not long before Schultz offers him a partnership in his business. This being the deep south of 1858, this kind of partnership is unusual, to say the least!

Following on from Inglourious Basterds, Django marks Tarantino's second foray in to historically-set drama. And just like Inglourious Basterds, the accuracy of the chosen period is somewhat skewed to accommodate Tarantino's love for exploitation cinema.
For my mind Inglourious Basterds is a classic and one of Tarantino's best. Despite it's similarities, Django is a more serious film - with a love story at it's core.

Tarantino essentially married comedy with violence by way of grindhouse aesthetics. With Django (and Basterds before it) he's playing with more serious themes. In an effort to distance his films from historical fact, it seems he's moving further towards his beloved grindhouse, exaggerating elements (such as violence) to comic-book-like proportions.
He trod a fine line with Inglorious Basterds, but Django appears to be another animal altogether.
The visceral violence of old is back, with an intent to document the horrors of the period. As with any Tarantino film there is much comedy to be found. With such seriousness abound, the comedy in Django jars somewhat. Non more so than a scene towards the end of the movie, featuring Tarantino himself (with a dodgy Australian accent). This scene takes you out of the movie completely, making it hard to immerse yourself in the film so close to the end.

Django has more going for it than the directors cameo of course. It's a worthy story with a great fairy-tale premise. The dialogue is fantastic and the actors are all superb (although it would've been interesting to see Will Smiths take on Django). Christoph Waltz is particularly good as Schultz - followed closely by Leonardo DiCaprio as Calvin Candie.
Candie is the villain of the piece - the dragon Django must slay, if you will. Owner of slave plantation Candie Land, the buying and selling of Mandingos (fighting slaves) is where Calvin's chief interests lay.

Django Unchained has much going for it - one could argue a little too much.
Having witnessed Tarantino evolve from Reservoir Dogs to Kill Bill and beyond, it would be premature to suggest the director is starting to repeat himself. There is undoubtedly more surprises to come - I for one can't wait!

4/5

Poster image courtesy: http://www.dreammoviecast.com

The name of the artist who produced this poster is Mike Butkus. Check out more of his incredible work at: http://www.mikebutkus.net/index.html

Life of Pi

Life of Pi took me by surprise, which is hard to do in this day and age!
I'd seen one or two trailers (to their credit, the marketing team didn't give too much away). I had avoided reading any reviews or articles on the production. I was also aware of the critical acclaim the film had already garnered. I was encouraged to see it in 3D - and I encourage you to do the same. Life of Pi is one of those rare films that lives up to the hype! 

The book from which it's based was written by Yann Martel. I used to work at a book shop and remember the cover vividly - the popularity of the book was evidently clear. I'm not a big reader, but if I knew then what I know now, I would've picked up a copy!

Life of Pi is a marvel. The story asks us to believe in miracles and magic again. The film asks the same of the audience, by presenting a visceral feast for the eyes - undeniable imagery which has to be seen to be believed. This is art imitating art in what was generally regarded an unfilmable adaptation.

The film begins with Pi as a young boy - a zoo-keepers son living with his family in Pondicherry, India. During Pi's mid-teens, his family decide to up sticks and move to Canada (animals and all). Their ship is sunk on route by a violent storm. Pi is the only human survivor amongst a handful of exotic animals - including the ferocious Bengal tiger, Richard Parker.
Cast adrift in the Pacific Ocean, Pi and his companions do what they must to stay alive!

The animals in Life of Pi behave as real as one would expect. More so in fact - to the point where it's educational! Life of Pi is distinctive in this sense - this certainly isn't The Jungle Book!
As much as I enjoy learning about the production of movies, particularly effects-driven ones, I feel the point will be missed with Life of Pi. Real life animals were almost certainly involved - and you can bet your bottom dollar that a good portion of the film was digitally animated. But where and how is what makes this film so masterful. Moreover, this is the standard that every movie should aspire to - the ability to thrill and captivate an audience through a visual medium, without jettisoning an engaging story.

Life of Pi is directed by Ang Lee - a director who can seemingly turn his hand to any genre. From Crouching Tiger, Hidden Dragon to Hulk (love it) and Brokeback Mountain, it would seem there's no story Lee can't tell. Lee's movies are always visually breathtaking - a rich and engaging story is always at the forefront however.

Every now and again, one is rewarded with a film that engages the brain as much as the eyes. The technical elements of this film are faultless (I don't say this lightly). The story and particularly the over-all sentiment will give all those with a pulse a feeling of warmth and reassurance.

Prepare to be whisked away on a truly incredible voyage. Don't forget your 3D specs!

5/5

Poster image courtesy: www.impawards.com

Wreck-It Ralph

Minor spoiler!

Firstly, I always try and find an official poster for the movie I'm reviewing - complete with credits etc.  I felt the above image best represented the film in question however - essentially a love letter to the world of gaming!

Not a gamer myself, I went in to this movie with some trepidation. I know my Sonic from my Mario, but that's about it. Undoubtedly there's many a character and technical reference in this film - as a non-fan however, you certainly don't feel left out.
Like Toy Story before it, the creators of Wreck-It Ralph have built a world from the ground up. It's an imaginary world of course, but one can't fault it's construct or it's inventiveness.

Wreck-It Ralph is one of many games at the local arcade. When the arcade closes for the day and the customers go home, the characters from each game intermingle - be it in each others games (Tapper's bar) or at the station-like electrical hub.
Ralph is the villain of his particular game, yet despite his effectiveness in the role he yearns to be a hero. This results in Ralph leaving his own game and entering Hero's Duty (a first-person shoot 'em up), on a quest to acquire a heros medallion. Unfortunately Ralphs quest takes him longer than imagined, leaving him stranded in a different game altogether. The arcade opens the following day with Ralph nowhere to be found!
Any game missing an integral player or component is regarded as faulty and is thus rendered unplayable. Fix-It Felix (the hero of Wreck-It Ralph) goes on a quest to find Ralph before their collective game is removed from the arcade altogether.

The game Ralph ultimately finds himself in is a racing game (Sugar Rush). There he meets kindred spirit, Vanellope von Schweetz - a glitch who wants to change her station in life, just as Ralph does. Borrowing from The Phantom Menace (not so bad after-all), the two enter a race in the hope of retrieving Ralphs medallion and freeing Vanellope from her current settings!

This film is crazy-good! From a creative perspective, no stone has been left unturned. The visuals are eye-popping, but what stays with you are the subtle shifts in tone - as we move from retro-pixelated kitsch to HD extravaganza!
The story follows suit, with the voice-cast enhancing the worlds their particular characters inhabit - Jack McBrayers Felix is innocence personified!
The writer/director behind all this is Rich Moore - a stalwart of both The Simpsons and Futurama. With that in mind it's not surprising there's so much to enjoy here - try not to blink too much!

4/5


Poster image courtesy: http://www.empireonline.com

Jack Reacher

Jack Reacher was not on my list of films to see in 2013. However, my interest was sparked upon hearing an interview with writer/director Christopher McQuarrie.
McQuarrie wrote the screenplay for The Usual Suspects in 1995 and has been a frequent collaborator of Suspects director, Bryan Singer.
Jack Reacher is McQuarries second feature as director after, The Way of the Gun (unseen).
From what I remember of the afore-mentioned interview, it was McQuarries interest in the 70's action-movie aesthetic which convinced me to give his new film a look. I'm a huge fan of this era of film, particularly the investigative drama/action of All the Presidents Men and Three Days of the Condor (to name a few).

Unfamiliar with the novels that inspired the movie, I went in to the theatre with only the insight I had garnered from McQuarries interview.
First and foremost Jack Reacher is set in the present day (despite nods to a 70's aesthetic). Reacher is ex-Military - a Police Detective who spends his civilian days off the grid and untraceable. When an ex-client of Reacher is implicated in a shooting, Reacher comes out of hiding. After some convincing from his current defence attorney, Reacher lends his specific talents to the case in the hope of exonerating the defendant once again.

Tom Cruise plays the titular hero and he does it well. Much has been said about his portrayal of the 6ft, 250lb detective - obviously he looks very different!
Despite his movie-star status, Cruise is more than capable of pulling off a role like this. I for one am a fan (Jerry Maguire being my favourite Cruise performance). Obviously he's copped a lot of flak for what he does privately (which has subsequently been made public). However, one can't deny the mans output, nor his box office returns. The worst thing you can say about any of his movies is they're always entertaining (except for Far and Away, maybe)!

Cruise is ably supported by Rosamund Pike (as defence attorney Helen Rodin) and Richard Jenkins (as Helens district attorney dad, Alex Rodin). The great Robert Duvall lends his talents in the later half of the movie as one of Reachers few allies, Cash.
Werner Herzog makes a surprise appearance as The Zec - the villain of the piece.
With a career spanning fifty years, Herzog has taken the path less travelled, directing both documentaries and fictional features alike. Born in Germany, Herzog has made a name for examining the more unusual, but always inherently human stories this world has to offer.
McQuarrie uses his world-weary features and intoxicating voice (often used to narrate his documentaries) to great effect here.

McQuarrie has constructed a great action/detective story with Jack Reacher. His talent as a writer gives the movie a formidable construct - inventive action scenes and quotable dialogue. What could have been a formulaic Hollywood actioner, is instead a movie of some integrity.
Speeding cars don't always make the turns they're supposed to - and men get exhausted when they fight. These subtle moments present a less imperfect world, more like our own - lending the film a greater sense of reality.

There is every opportunity for a sequel here - apparently the novels are bountiful!
In the meantime, this creative team have much to offer, both collectively and independently.
I for one am counting the days 'til McQuarries adaptation of The Wolverine!!

4/5


Poster image courtesy: http://www.empireonline.com

Sightseers

Sightseers is the last film I'll be reviewing of 2012 (despite seeing it in January of 2013).
Given a limited release from boxing day of last year, Sightseers is a bold statement from relative new-comer, Ben Wheatley.

Sightseers is Wheatleys third film as director and apparently sees him enter in to more humourous territory.
This is in no small part to his two leads, played by Alice Lowe and Steve Oram - luminaries of British, comedy television. Despite this and the involvement of Edgar Wright (Shaun of the Dead, Hot Fuzz), it would be hard for me to recommend this film to any fan of horror/comedy, on the look-out for the next Severance or Slither.

Sightseers fits the horror/comedy mould, only this time we see everything from the perspective of the killers, rather than the victims. By participating in the horrendous acts of this couple, one effectively becomes accomplice (by association) - and the result is unsettling.

The film is very clever in this regard. To begin with, the couple evoke empathy from the audience. Tina (Lowe) lives with her over-bearing mother, while Chris (Oram) is fully invested in the heritage of Britain - a suggestion of a simple man with simple tastes.
They're soon faced with many an individual who challenge their particular beliefs - mainly those with bad manners! One finds themselves rooting for the couple in these instances.

Before long however, Chris and Tina are breaking their own rules - or are these the preconceived rules of the audience? Like I said, this time we're at the mercy of killers, who possibly didn't even have rules to begin with!

The film continues to be funny, although the shift in tone makes things difficult to decipher (I found myself giggling throughout, but heard very little laughter from the rest of the audience).
Slowly but surely we get under the skin of these two psychotics - and by the end of the film, any empathy we once had for them is long gone.

As unsettling as it is to watch, one can't fault the film itself. It's been beautifully photographed by Laurie Rose. The soundtrack is spot-on - the choice of pop music from the 80's effectively contrasting with the strange odyssey on screen.
The biggest triumph with Sightseers is the casting of Lowe and Oram. Some would argue that there's no right or wrong way to play psychotics, with no rhyme or reason for their behaviour.
As co-writers of the film, Lowe and Oram have fully inhabited the roles of Tina and Chris. Each character has a rich history behind their eyes, yet nothing is as important as the here and now. They don't play for laughs but they're inherently funny. By immersing themselves in character, the comedy and horror appears effortless as they go about their bloody trek across Britain.

Wheatleys second feature, Kill List has been on my own list for some time. I look forward to seeing his previous efforts and will be keeping a watchful eye on forth-coming projects from the man (apparently there's a few!).
Wheatley is obviously a director of some talent and Sightseers is a trip worth taking.
Like any caravan trip however, there's no getting away from the company you keep. Anyone willing to sit down in front of this film is in it for the long-haul!

3/5

Poster image courtesy: http://www.empireonline.com

Skyfall

Skyfall represents the 50th anniversary of James Bond (at the movies) and the team responsible for this new adventure have clearly set out to celebrate the occasion.

With Quantum of Solace following Bonds exploits immediately after Casino Royale, Skyfall instead focusses on a solo mission (with no mention of the dastardly threat that is Quantum). There is also a suggestion that much has happened since the end of Quantum and the beginning of Skyfall. This is only Daniel Craigs third outing as Bond, yet recurring knocks at his age and his physical prowess are scattered throughout.

There's been a four year gap between Quantum and Skyfall, due in no small part to MGM's bankruptcy problems. Despite the gap, more time has been given to the preparation of this particular entry - with some high-profile cast and crew joining the ranks of the James Bond alumni.

Most notable is director, Sam Mendes (American Beauty, Road to Perdition). Mendes collaborator Roger Deakins joins the crew as cinematographer - while Ralph Fiennes and Javier Bardem join the eclectic cast.

Mendes and his crew have included everything that's been integral to Bonds universe since Dr. No. There's the globe-trotting element for one. Deakins excels here, with many a beautiful and often contrasting vista. I've never really discussed cinematographers before, despite some stunning looking films (Prometheus springs to mind). The visuals in Skyfall are breath-taking however - and certainly one of the main attributes of the film.

Sam Mendes appears to approach his projects with a classical sense of film-making. With Skyfall, he returns Bond to his roots, both literally and figuratively. There is nostalgia seeping from every poor of this movie - with nods to previous incarnations of the character, vehicles and props and an overall sense of (60's) style.

The plot itself is just as engaging as one has come to expect from Bond - with a little more digging in to the characters past, specifically his upbringing. 

Bardem plays Silva - a more formidable foe than Quantums, Dominic Greene. Like the best Bond villains, he has a physical impairment! The inclusion of a couple of killer reptiles is also a welcome addition!

There are a few additions that don't quite work of course. The humour for one is a bit hit and miss. Interestingly the nods to a more light-hearted era fall flat - which leads us to the action beats in the movie. 

Gone is the gritty/close-quarters approach of Casino Royale (undoubtedly inspired by the Bourne series), replaced this time with a sense of sophistication. As thrilling as the action scenes are, it seems the film-makers are endeavouring to reinvigorate Bonds signature style, rather than replicate more modern techniques. Mendes compromises with this film and finds an appropriate middle-ground. If the emphasis is on a lighter tone for forth-coming adventures however, I fear we may lose a harder-edged Bond.

The lasting impression of Skyfall is that of a stand-alone adventure. The film-makers have successfully celebrated Bonds 50th anniversary with this film - and have thrown in an engaging story to boot. Ironically the ending of Skyfall represents that of new beginnings. Craig has apparently signed on for two more Bond adventures (the aforementioned knocks to his health and age somewhat premature then?). 

Here's hoping whoever's involved next time continues in this quest to encapsulate Bond, but with a tad more emphasis on the here and now!

4/5

Poster image courtesy: http://www.empireonline.com

Films of the year - 2012!

My review for Skyfall will be appearing shortly. In the meantime however, I give you my personal picks of 2012!

I have five excellent movies for you (all 5/5) and five terrible movies (all 1/5)!

First of all, the bad ones. I saw the following five films on DVD this year. Admittedly some of them are a couple of years old now, yet they still represent the worst of 2012 for me!
I figured it was high time I listed some movies I hadn't enjoyed, seeing as all the movies I've reviewed so far have been 3/5 and higher.
I offer up the following as a public service - avoid at all costs!

Piranha 3DD

Follows the formula of the first one too closely - and sets events in a pool rather than a large, expansive lake (how long does it take to get out of a pool, for christs sake)?! Neither gory nor titillating - not even the Hoff can save this one!

30 Days of Night: Dark Days

The best bits in this terrible sequel were the shots they pinched from the original. Melissa Georges character was recast, yet they endeavour to find a look-a-like for Hartnett at the end?! I don't know how closely this resembles the book, but I'd hazard a guess and say the book was better!

Hobo with a Shotgun

Another film which thinks it can get away with anything, while under the moniker of "Grindhouse". A total car-crash of a movie - nothing to see here!

In Time

Probably the most disappointing on this list - directed by Andrew Niccol (Gattaca). This had a crazy premise which should've worked in the hands of someone like Niccol. Unfortunately the execution was terrible, the running time too long and with plot-holes visible from space!

And Soon the Darkness

This film lost me from the very beginning. It is impossible to side with heroines in peril, when they cock-tease their way through a foreign country! The remainder of the film was filled with plot-twists and red herrings-a-plenty. Not bad for a laugh, but impossible to take seriously!

And now to my favourites - in order of release. No pictures this time, but feel free to click on each individual title for a review in full!

Sherlock Holmes: A Game of Shadows

A Separation

The Raid: Redemption

I hate how reviewers re-view their own material based on the popularity or criticism a product received upon and after release. 

I originally gave The Raid 4/5, so in a sense I'm becoming what I hate most! I'm making an exception this time due to the technical fault that accompanied my first viewing of The Raid.

Having recently seen the movie again on DVD, I had no alternative but to reassess my rating.
The audio was in sync this time - and those milliseconds of harmonious synchroneity made all the difference! A non-stop adrenaline-fuelled action extravaganza!

The Dark Knight Rises

Excision

I would have to pick Sherlock Holmes: A Game of Shadows as my over-all favourite!
Considered a film of 2011 for most, it wasn't released in Australia until early January. Having seen it many times over on DVD, it never fails to entertain - nor deliver on crowd-pleasing spectacle!
I really hope they make a third entry to this series. As successful as the series has been so far, it seems to have been somewhat over-shadowed by other, less deserving franchises.
Guy Ritchie and his team really stepped up to the plate with Game of Shadows and delivered a movie in league with Nolans Batman trilogy - just sayin'!


2013 is looking to be just as an eventful year for movies as 2012 was - with perhaps more original material filing the blockbuster void this time around. Movies like Pacific Rim, Elysium and Gravity are sure to make a huge impact - here's to an exciting new year in film!